Mesa/Boogie JP-2C Owner'S Manual Download Page 18

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PULL:  This Mode utilizes the standard time-tested PRESENCE circuit used on MESA MARK amplifiers for decades. It produces a
higher PRESENCE frequency and because of that, a softer more elastic feel. It features for many the more inviting, easier to play
response of the two PRESENCE Modes as the higher harmonics “lay on top” of the notes played creating a haze or slurry (depend-
ing on your analogy) that makes the MARK II-C+ Mode, and in fact most high gain Modes, more creamy, vocal and singing.  There
is definitely more harmonic content in this Mode and therefore, it is usually preferable to reduce the PRESENCE control to its lower
range when using the PULL Mode. Ignoring that approach will likely produce thin, pointed, shrill sounds that aren’t pleasing… es-
pecially for single note playing.  There may be times for heavily saturated Crunch Rhythm sounds that a higher setting of the PULL
PRESENCE Mode is appropriate, but they will likely be few and far between. This Mode is instrumental in all the classic recordings
associated with the MARK II-C+ Lead Mode. It is directly and faithfully taken from that amplifier and has been used on most MESA
models since the first MARK I’s in the early ‘70s. Spend time working with the TREBLE and PRESENCE in the PULL Mode as many
“colors” of top end are available to you just within the range of these two rotary controls. May we suggest starting there and moving
to the Graphic Equalizers for fine tuning once you’ve got a basic sound you’re happy with here.

SETTING – PULL (Pulled-Out): Set the PRESENCE control lower for this Mode as the frequencies are higher and become more
easily detached from the notes played. Try settings between 7:00 – 10:00 for the most cohesive and vocal single note Lead sounds.
Settings up to 12:00 may be appropriate for Crunch Rhythm styles where more aggression and harmonic layering is desired.

This switchable PRESENCE Feature is just one of the many improvements made to the original II-C+ Lead circuit and together with
the PULL GAIN, they create an amplifier that has legendary Tone combined with modern adaptability. Between the two Channels and
their GAIN and PRESENCE options, you can create virtually anything you can dream in the realm of overdriven and/or high gain guitar.
Any amount of drive, any voice, any feel, it’s all here for your discovery. The fun part–the exploration–is up to you and your imagination.

THE CONTROLS

GAIN

This is, by far, the most powerful control in the JP-2C and its setting determines the style and personality in each of the

Channels. It meters the gain in different tube stages depending on the Channel called up and it sets Input Stage headroom, which
determines whether the sound will be more or less saturated. It also acts as a subtle Tone control as the tube stages’ gain is increased
and decreased and imparts its own “color” on the sound.

In all the Channels, there are three regions of the GAIN control; a low gain zone between 9:00 - 11:30, a
warmer, more saturated zone from 12:00 - 2:00 and a higher gain zone from 2:30 – 5:30. Each of these
zones can be used for many different applications and all can be used for both chording and single note solo
work. As the GAIN control is swept throughout its range it imparts different textures and tonal characteristics.

Generally speaking, the lower end of the control (9:30 – 11:30) in all Channels produces a brighter, more open character that has
more dynamic content available. This region is great for clean, sparkling chording in Channel 1, where the maximum headroom is
available, the top end harmonics are bubbly and the attack is lightning fast. Channel 2 and 3 offer some nice threshold sounds in this
zone where the gain is warm and furry, but there is still plenty of the guitar’s personality intact. This zone is great for Channel 2 sounds
used for clipped chording as there is plenty of dynamics intact that have not yet been compressed by too much saturation. Channel 3
also responds well in this lower region and similar chording and solo sounds await you here. You will be pleasantly surprised that the
same Channel that can sound so vintage-approved and agile when set low can be such a ferocious high gain beast when cranked.

The middle region of the GAIN control (12:00 – 2:00) is where the most balanced sounds live and you will find this region delivers
warm, full sound, detailed attack and good dynamics and the Tone controls still have a powerful effect on the signal. Channel 1 delivers
great chording response and sounds richer and has more body here. Depending on pickup style and strength you will have to watch
for clipping as you are nearing the crossover point gain-wise and some clip may start to appear as you pass 2:00. Some of Channel
2’s best sounds are to be found here, as things start “smearing” nicely and you start getting into delicious tube overdrive. This region
in Channel 3 offers the greatest flexibility, focus and detail. As these sounds are all higher gain than their Channel 1 and 2 counter-
parts, the best dynamic response and attack characteristics are in this window. As you approach 2:00 there will be an abundance
of saturation to keep chords grinding and single notes hanging – but not yet too much to start compressing the life out of the sound.

80Hz

240

750

2200 6600

80Hz

240

750

2200 6600

GAIN

TREBLE

MASTER

PRESENCE